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Fashion and Visual Arts Magazine
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Spln .02.032 p. 134—142 Spln .02.025 p.54—65
Spln .02.023 p.32—43 Spln .02.021 p.08—19
Spleen is a fashion and visual arts magazine that offers to share the inner side of the artist, its deepest and most
personal visions. Through those introspective and intimate looks
that translate the images in artistic scenarios and contrasting
aesthetic forms.
A space, open to the world, for creative contemporary avant–garde minds desiring to express themselves through heterogeneous forms of communication.
Spleen is your aesthete best friend.
01
Spleen is a challenging annual publication that catalogs the authors of the new wave, with focus on photography and fashion.Based in Italy but internationally open, is edited by Martina Giammaria and Francesco Artibani.
Spleen MAGAzIneYour Aesthete Best FriendIssue n°02 Fall—Winter 2013⁄14www.spleenmagazine.com
Fashion editor: Francesco Artibani [email protected] editor: Martina Giammaria [email protected]
Contributors: Teresa Cos, Harold Diaz, Martina Giammaria, emiliano Granado, petra Herbert, André Herrero, Irène (Geneviève eliard and esthèle Girardet), Rob Kulisek, Mathieu Missiaen, Alice Moitie, Benjamin Schmuck, lonneke Van der palen.
Graphic Design: Alberto MoreuTWO Think Work ObserveTypeface: Gin Sans, © TWO Think Work Observe 2013 (t-wo.it)Trump Medieval, © Georg Trump (C.e. Weber 1954–1960)
Credits:on the cover of issue 02lonneke Van der palenTombouctou 52 joursp.54—65
All rights reserved.no part of this publication maybe used or reproduced in any manner without written permission from the publisher. All artworks are exclusive property of the owners.
© Spleen Magazine, 2014
02
CATAlOGue
p.20—31
p.08—19
03
p.32—43
p.44—53
catalogue 04
F—Wp.66—77p.54—65
p.78—95
p.98—103
05
2013⁄14
p.134—142
p. 1 12—125p. 104—111
p. 126—133
Spleen MagazineYour aesthete Best Friendissue n°02 Fall—Winter 2013 ⁄ 14
index
i
Forewords 01 colophon 02catalogue 03 05
ii
authors 08 142
iii
Statements 96 97
contacts 143
authors
ii
alice Moitie 08 19andré Herrero 20 31Benjamin Schmuck 32 43irène 44 53lonneke Van der palen 54 65Martina giammaria 66 77Harold Diaz 78 95Rob Kulisek 98 103petra Herbert 104 111teresa cos 112 125emiliano granado 126 133Mathieu Missiaen 134 142
contentS 06
F—W 2013 ⁄ 14 issue n°02
Your aesthete Best Friend
07
Spleen Magazinecode: Spln.02.021
alice Moitie
Des hommes qui s’aiment
issue 02Fall—Winter 2013 ⁄ 14
autHoRS 08
alice Moitie 10
11
alice Moitie 12
13
alice Moitie 14
15
alice Moitie 16
17
Spleen MagazineCode: Spln.02.022
André Herrero
eckhaus
Issue 02Fall—Winter 2013⁄14
autHoRS 20
21
anDRÉ HeRReRo 22
23
anDRÉ HeRReRo 24
25
anDRÉ HeRReRo 26
27
anDRÉ HeRReRo 28
29
Spleen Magazinecode: Spln.02.023
Benjamin Schmuck
Ravitaillé par les corbeaux
issue 02Fall—Winter 2013 ⁄ 14
autHoRS 32
BenjaMin ScHMucK 34
35
BenjaMin ScHMucK 36
37
BenjaMin ScHMucK 38
39
BenjaMin ScHMucK 40
BenjaMin ScHMucK 42
43
Spleen MagazineCode: Spln.02.024
IRÈne, erotic FanzineGeneviève eliard
and esthèle Girardet
There is an othernessinside us we never touch
models lucie and nami
Issue 02Fall—Winter 2013⁄14
autHoRS 44
IRÈNE 46
47
iRÈne 48
49
iRÈne 50
51
iRÈne 52
53
Spleen Magazinecode: Spln.02.025
lonneke Van der palen
tombouctou 52 jours
issue 02Fall—Winter 2013 ⁄ 14
autHoRS 54
lonneKe Van DeR palen 56
57
lonneKe Van DeR palen 58
59
lonneKe Van DeR palen 60
61
lonneKe Van DeR palen 62
63
lonneKe Van DeR palen 64
65
Spleen Magazinecode: Spln.02.026
Martina giammaria
styling Francesco artibani hair&make up Vicky Fusco
dancers Raffaellatresor and Marjorie lenain
Hold on
issue 02Fall—Winter 2013 ⁄ 14
autHoRS 66
MaRtina giaMMaRia 68
69
MaRtina giaMMaRia 70
MaRtina giaMMaRia 72
73
MaRtina giaMMaRia 74
75
cReDitS
p. 01 american apparel swimsuit — p. 01 american apparel swimsuit — p. 01 Reebok top, skirt from a chinese market — p. 01 comeforbreakfast shorts, Reebok crop top — p. 01 standing: comeforbreakfast long shirt, adidas leggings; lying down: Reebok jumpsuit, Vincent Billeci skirt, adidas shoes — p. 01 standing: Vincent Billeci skirt, Reebok jumpsuit, adidas shoes; lying down: adidas leggings — p. 01 Reebok crop top, luigi Borbone jeans — p. 01 american apparel swimsuit — p. 01 comeforbreakfast long shirt, Vincent Billeci skirt — p. 01 Reebok crop top
Spleen Magazinecode: Spln.02.027
Harold Diaz
phone photos
issue 02Fall—Winter 2013 ⁄ 14
autHoRS 78
79
HaRolD Diaz 80
81
HaRolD Diaz 82
83
HaRolD Diaz 84
85
HaRolD Diaz 86
87
HaRolD Diaz 88
89
HaRolD Diaz 90
91
HaRolD Diaz 92
HaRolD Diaz 94
95
Francis BaconThe logic of sensation
gilles Deleuze
it is a mistake to think that the painter works on a white surface. the figurative belief follows from this mistake. if the painter were before a white surface, he – or she – could reproduce on it an external object functioning as a model. But such is not the case. the painter has many things in his head, or around him, or in his studio. now everything he has in his head or around him is already in the canvas, more or less virtually, more or less actually, before he begins his work. they are all present in the canvas as so many images, actual or virtual, so that the painter does not have to cover a blank surface, but rather would have to empty it out, clear it, clean it. He does not paint in order to reproduce on the canvas an object functioning as model; he paints on images that are already there, in order to produce a canvas whose functioning will reverse the relations between model and copy. in short, what we have to define are all these “givens” [données] that are on the canvas before the painter’s work begins, and determine, among these givens, which are an obstacle, which are a help, or even the effects of a preparatory work.
c’est une erreur de croire que le peintre est devant une surface blanche. la croyance figurative découle de cette erreur : en effet si le peintre est devant une surface blanche, il pourrait y reproduire un objet extérieur fonctionnant comme modèle. Mais il n’en est pas ainsi. le peintre a beaucoup de choses dans la tête, ou autour de lui, ou dans l’atelier. or, tout ce qu’il a dans la tête, ou autour de lui est déjà dans la toile, plus ou moins virtuellement, plus ou moins actuellement avant qu’il ne commence son travail. tout cela est présent sur la toile, a titre d’images, actuelles ou virtuelles. Si bien que le peintre n’a pas à remplir une surface blanche, il aurait plutôt à vider, désencombrer, nettoyer. il ne peint donc pas pour reproduire sur la toile, un objet fonctionnant comme un modèle, il peint sur des images déjà là, pour produire une toile dont le fonctionnement va renverser les rapports du modèle et de la copie. Bref ce qu’il faut définir, ce sont toutes ces « données » qui sont sur la toile avant que le travail du peintre commence. et parmi ces données, lesquelles sont un obstacle, lesquelles une aide, ou même les effets d’un travail préparatoire.
StateMentS 96
Fuck Committeestibor Kalman
i believe in lunatics
it’s about the struggle between individuals with jagged passion in their work and today’s faceless corporate committees, which claim to understand the needs of the mass audience, and are removing the idiosyncrasies, polishing the jags, creating a thought-free, passion-free, cultural mush that will not be hated nor loved by anyone. By now, virtually all media, architecture, product and graphic design have been freed from ideas, individual passion, and have been relegated to a role of corporate servitude, carrying out corporate strategies and increasing stock prices. creative people are now working for the bottom line.
Magazine editors have lost their editorial independence, and work for committees of publishers (who work for committees of advertisers). tV scripts are vetted by producers, advertisers, lawyers, research specialists, layers and layers of paid executives who determine whether the scripts are dumb enough to amuse what they call the ‘lowest common denominator’. Film studios out films in front of focus groups to determine whether an ending will please target audiences. all cars look the same. architectural decisions are made by accountants. ads are stupid. theater is dead.
corporations have become the sole arbiters of cultural ideas and taste in america. our culture is corporate culture. culture used to be the opposite of commerce, not a fast track to ‘content’- derived riches. not so long ago captains of industry (no angels in the way they acquired wealth) thought that part of their responsibility was to use their millions to support culture. carnegie built libraries, Rockefeller built art museums, Ford created his global foundation. What do we now get from our billionaires? gates? or eisner? or Redstone? Sales pitches. junk mail. Meanwhile, creative people have their work reduced to ‘content’ or ‘intellectual property’. Magazines and films become ‘delivery systems’ for product messages.
But to be fair, the above is only 99 percent true.i offer a modest solution: Find the cracks in the wall. there are a very few
lunatic entrepreneurs who will understand that culture and design are not about fatter wallets, but about creating a future. they will understand that wealth is means, not an end. under other circumstances they may have turned out to be like you, creative lunatics. Believe me, they’re there and when you find them, treat them well and use their money to change the world.
New York, june 1998
97
Spleen MagazineCode: Spln.02.028
Rob Kulisek
Reminiscence
Issue 02Fall—Winter 2013 ⁄ 14
authoRS 98
RoB KuliSeK 100
101
RoB KuliSeK 102
103
petRa HeRBeRt 104
Spleen Magazinecode: Spln.02.029
petra Herbert
What we’ve gotis gold
issue 02Fall—Winter 2013 ⁄ 14
105
petRa HeRBeRt 106
107
petRa HeRBeRt 108
109
petRa HeRBeRt 110
111
Spleen MagazineCode: Spln.02.030
Teresa Cos
They came and they left and everything was the same
(2013) commissioned by Stella McCartney
Issue 02Fall—Winter 2013⁄14
autHoRS 112
teReSa coS 114
115
teReSa coS 116
117
teReSa coS 118
119
teReSa coS 120
121
teReSa coS 122
123
125
Spleen Magazinecode: Spln.02.031
emiliano granadothank god that’s over
issue 02Fall—Winter 2013 ⁄ 14
autHoRS 126
eMiliano gRanaDo 128
129
eMiliano gRanaDo 130
131
eMiliano gRanaDo 132
133
Spleen MagazineCode: Spln.02.032
Mathieu Missiaen
styling Morgane nicola,make up Juan Romero
models Clara, zoé, leopold, lila,Flora, Romain, Angie, Félicia
untitled
Thanks to upper east Studio, Julien Morinand Chloé Bonni More
Issue 02Fall—Winter 2013⁄14
autHoRS 134
MatHieu MiSSiaen 136
137
139
MatHieu MiSSiaen 140
141
We accept fashion stories and photographic essays. Works should be cohesive projects — personal, intimate, conceptual, experimental, fashion oriented — sent along with a brief presentation text and credits.
Send low–res jpegs with a link to your personal website to: [email protected]
Spleen MagazineYour aesthete Best FriendIssue n°02 Fall—Winter 2013⁄14
Contributors: teresa cos, Harold Diaz, Martina giammaria, emiliano granado, petra Herbert, andré Herrero, irène (geneviève eliard and esthèle girardet), Rob Kulisek, Mathieu Missiaen, alice Moitie, Benjamin Schmuck, lonneke Van der palen. For submissions and advertising: [email protected]
www.spleenmagazine.com